The Contours - Do You Love Me (Now That I Can Dance) 1962

The first LP released on Gordy Records is also the Contours' first and only regular album release on Motown; a later collection also titled Do You Love Me was a greatest-hits compilation. This is worth a few bucks if you can find a copy. Three cuts were released on the Motown label before they were switched to Gordy ("The Stretch," "Funny," and "Whole Lotta Woman"); all stiffed. On Gordy, the group enjoyed their biggest hit the first time out in "Do You Love Me." "You Better Get In Line," a slick dance number, died as the flipside of "Shake Sherrie." A lively "You Must Be Love" has Billy Gordon swapping leads with Joe Billingslea. "Shake Sherrie" has a looping beat, a wandering baritone sax, and incredulous vocals from Gordon, Billingslea, Sylvester Potts, Billy Hogg, and Hubert Johnson. The rest suffer from a lack of identity; neither the group nor Motown had defined their sound when these were cut. AMG

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The Bushes - Assorted Shrubbery 1968

This one's fairly rare (good luck finding another online review of it), but hasn't exactly set the collector world on fire. The main reason for that lack of interest probably has to do with the fact this short-lived Chicago outfit was more interested in doing white boy covers of classic soul numbers, rather than your standard deep dives into blues, psych, or rock. Moreover, by the time "Assorted Shrubbery" was released in 1968, the age of integrated musical enjoyment had already begun to exit stage left. The result was these guys were simply too pop-oriented for R&B and soul audiences, and too soul for pop and rock audiences. Those were the perfect ingredients for instant obscurity which is pretty much the fate met by the short-lived Bushes.

Bushes featured the talents of lead guitarist Al Johnson, keyboardist/bass player Ron Stockert, singer Joel Wilson, and drummer John Zefo. Their sole album was recorded at Golden Voice Recording Company and as you can tell by Johnson's liner notes, the band seemed pretty hot on themselves:

"The music in this album is a product of all environments know to mankind. The controversial sounds of today, as well as the treasures remaining from yesterday. Music for those who hope for those who dream, and music for the sad. Here is a polyphonic portrayal of the proud happiness and the stumbling failures so common, so well-known to all. Here is the music for everyone because it was born in the minds of artists representing everyone. That alone makes this important music. Important to those who created it, and important to those who interpret it correctly and understand it fully." No idea what that all meant, but it certainly sounded like Johnson could have enjoyed a career as a politician ...

So what's this puppy sound like? Well as you could tell by a quick scan of the ten songs, these guys had a deep affection for Chicago and Detroit soul. In fact, five of the tracks were popular soul covers, with one well known Chicago blues cover thrown in (T. Bone Walker's 'Stormy Monday Blues'). They exhibited good taste in their covers (George Clinton, Curtis Mayfield, Smokey Robinson), but no matter how good, their largely rote covers simply couldn't come close to the source material. At the same time the album included a couple of band originals; the best being the atypical psych-rocker 'Most Girls' and the worst being a brief Frank Zappa inspired belch of freak-out experimentation ('Polyphony'). So that encapsulates the dilemma with this one. If you enjoy blue-eyed soul this is probably an album you'd like. Wilson and Stockert were both pretty good singers and as a band these guys were quite talented with Johnson showing some fine lead guitar moves when he was given a shot at the spotlight. Stockert was similarly good, bring a deft Vanilla Fudge keyboard sound to much of the material. If you weren't a soul aficionado, then there was less to interest you here.

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Jerry Butler - The Soul Goes On 1968

Jerry Butler's recording career spanned seven decades and saw him release more than 50 albums, and his voice is one of the most distinguished in all of music. Soulful yet smooth as ice, his nickname, "The Ice Man," epitomized his demeanor -- and his sound. Butler moved from Sunflower, Mississippi, to Chicago at the age of three and grew up in the Cabrini-Green Housing Projects. He had initial music lessons as a young boy while a member of a church choir in Chicago. Curtis Mayfield, who was three years younger, was a member of the same choir. The two befriended each other and began a collaboration that would have an everlasting impact on music. The duo joined brothers Arthur and Richard Brooks and Sam Gooden to form the R&B group the Roosters. In fact, the Brooks brothers, Gooden, and a female singer they knew had migrated to Chicago from Tennessee and were called the Roosters & a Chick. But when Butler and Mayfield joined them, the group became simply the Roosters. In 1957, the quintet's name was changed to Jerry Butler & the Impressions. Butler scored his first hit with the Impressions in 1958 with the timeless ballad "For Your Precious Love." (He'd written the lyrics to the song when he was 16.)

That same year, Butler and the Impressions cordially split, and Butler began his solo career. He released his first single, "Lost," on the Abner label. It peaked at number 17 on the Billboard R&B charts. Jumping over to Vee-Jay in late 1960, where his career blossomed, Butler had his first hit as a solo artist with "He Will Break Your Heart." The single went to number one and stayed there for seven consecutive weeks. In 1961, he bounced back with two Top Ten singles: "Find Another Girl" and "I'm a Telling You." In 1967, Butler signed with Mercury and teamed up with the production duo of Kenny Gamble and Leon Huff. His work with these two master producers and songwriters resulted in some classic recordings, including the outstanding album The Ice Man Cometh. The record featured two number one singles ("Hey, Western Union Man" and "Only the Strong Survive") and two Top Ten singles ("Never Give You Up" and "Are You Happy"). While Butler was always known for being a crooner, "Hey, Western Union Man" revealed that he was more than capable of singing uptempo songs. In 1971, Gamble and Huff formed their own label. Subsequently, Butler formed a creative workshop to help provide material for his forthcoming albums. He marketed songs that he didn't use on his own albums to other artists. In the spring of 1971, he hit the Top Ten with the number eight single "If It's Real What I Feel," which was written by Chuck Jackson (the younger brother of Rev. Jesse Jackson). Butler continued his hitmaking tradition with "Ain't Understanding Mellow," a classic soul-ballad duet with Brenda Lee Eager that peaked at number three on the Billboard R&B charts. He scored a number six single with Eager with a remake of the Carpenters' "(They Long to Be) Close to You" and a solo hit with a remake of the O'Jays' "One Night Affair," which was also his last song to crack the Top Ten. Never one to categorize singers because he believed that a singer is a singer -- not based on genre, but merely on a person's ability to sing -- Butler himself covered several styles of music during his lengthy music career. He had many highs, ranging from sharing the spotlight with such greats as Aretha Franklin to being the chairman of the board for the nonprofit Rhythm and Blues Foundation. Butler also became a force in another field: politics. In the mid-'80s, he was a significant campaign supporter of Chicago's first Black mayor, Harold Washington. A short time later, he himself became the Cook County (Illinois) Commissioner, and by the late '90s, he was a Chicago City Alderman. In the meantime, he was inducted into the Rock & Roll Hall of Fame as a member of the Impressions in 1991. When the great Jerry Butler was not lobbying for his constituents -- he held public office until 2018 -- he could be found on-stage impressing with his Ice Man-cool delivery. Butler died on February 20, 2025, at the age of 85. AMG.

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Stevie Wonder - Down To Earth 1966

Stevie Wonder's third album signaled more artistic growth, but was the first of his career that didn't make much commercial headway. It didn't contain a single big hit, something that wouldn't happen again to Wonder for many, many years. There were moments of uncertainty and awkwardness on such songs as "Angel Baby (Don't You Ever Leave Me)" and "Lonesome Road." Wonder was laying the groundwork for numerous classics that routinely came throughout the 1970s and '80s; his voice was losing its cuteness and beginning to gain the richness and edge that punctuated many of his future albums. AMG.

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Whichwhat - Whichwhat's First 1970

Formed in 1968,Whichwhat joined the vibrant 60's Nottingham music scene at a time when every pub and club had live music. They were soon established amongst the elite bands of that period : Sons and Lovers, Six Across, etc. and within 5 months achieved a recording contract on Beacon Records. Between 1968 and 1971 Whichwhat released 5 singles and one LP. (whichwhat's first). They achieved chart success in Holland, Australia   and Japan with these songs :- "Gimme Gimme Good Lovin" ,  "In the year 2525", and " Why do lovers break  each  others heart". Before their eventual demise Whichwhat went through a series of personnel changes, and turned from a great cover band into a serious progressive rock outfit.

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Barry Hay - Only Parrots, Frogs And Angels 1972

Barry Hay is the lead vocalist of Golden Earring, one of the most popular Dutch rock bands of the 20th century. In addition to his decades of output with Golden Earring, he released solo albums from time to time. Born August 16, 1948, in Faizabad, India, he moved to the Netherlands at age ten. In 1967 he joined the lineup of Golden Earring (then known as the Golden Earrings), a Dutch rock band based in the Hague that had been founded in 1961 and that had made its recording debut in 1965. The Hay-fronted lineup experienced decades of international success. The band evolved stylistically with the changing times, most notably progressing from psychedelic rock during the late '60s to hard rock in the 1970s. Best known stateside for their 1973 rock radio classic "Radar Love" and their 1982 early MTV staple "Twilight Zone," Golden Earring were one of the first European rock bands to tour the United States and did so repeatedly over the years. While only moderately popular internationally, the band scored several chart-topping hits in the Netherlands: "Dong Dong Diki Diki Dong" (1968), "Back Home" (1970), "Radar Love" (1973), "Twilight Zone" (1982), and "When the Lady Smiles" (1984). As a solo artist, Hay released full-length albums including Only Parrots, Frogs & Angels (1972), Victory of Bad Taste (1987), and The Big Band Theory (2008). Among these solo album efforts, Victory of Bad Taste spawned the minor hit single "Draggin' the Line," while The Big Band Theory, featuring the Metropole Big Band, was the most successful from a commercial standpoint, reaching number two on the Dutch albums chart. AMG.

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Geno Washington & The Ram Jam Band - Hipsters, Flipsters, Finger-Poppin' Daddies 1967

Like the previous Hand Clappin' Foot Stompin' Funky-Butt...Live!, Hipsters, Flipsters, Finger-Poppin' Daddies! captures Geno Washington & the Ram Jam Band in their natural environment, delivering high-energy, hip-shaking soul and pop classics in front of a wildly appreciative live audience. There's no pretense or guile to this music, just a bar band par excellence tapping into the indefinable essence of what constitutes a transcendentally good time. As always, the source material is all over the stylistic and geographic map, covering crowd-pleasers spanning from the Beatles' "Day Tripper" to the Troggs' "Wild Thing." The most pronounced influence is Memphis soul, in particular Stax classics like "I Can't Turn You Loose" and "In the Midnight Hour," and the music's gritty authenticity fits Washington's rough-but-right vocals to perfection. [BMG's 2007 reissue adds ten unreleased tracks, including "She Shot a Hole in My Soul" and "Different Strokes."] AMG.

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Patchwork - Patchwork 1972

Country rock band formed in 1970, in San Antonio, Texas with 4 members: Shane Appling, his wife Kitty Appling, lead guitarist Richard Silen and bass player Ed Shook. Kitty sings lead vocals, Shane also sings & plays various stringed instruments, 6 & 12 string guitars, bass & banjo. They released their debut album in 1972 on RCA Records. They also appear on the 1976 Kerrville Folk Festival LP recorded live at the annual spring Texas festival. 

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The Baroques - The Baroques 1967

A minor psychedelic band with a mixture of interesting and generic material, the Baroques recorded one LP for Chess in 1967, when the blues/R&B/soul-oriented label was considering breaking into the rock market. Popular only on a regional level, the Milwaukee group (originally called "The Complete Unknowns," until someone probably realized how dangerously self-fulfilling it could be) was dominated by the morose compositions and low, odd vocal range of singer-lead guitarist Jay Berkenhagen who also played keyboards; the other members were Rick Bieniewski on bass, Jacques Hutchinson on guitar and vocals, and Dean Nimmer on drums. With a slight garage feel, their unusual, occasionally oddball material was built around electric (sometimes "baroque") keyboards and fuzz guitar riffs, which occasional detours into uplifting folk-rock and freak-out jamming. They lucked out in 1966 with the Berkenhagen-authored single "Mary Jane," which engendered considerable local controversy over whether it was or wasn't a drug song: it wasn't, but the dispute over the lyrics got them labeled as a psychedelic act, and boosted their live popularity. The album never sold, however, and the group disbanded in 1968. They won't appeal to many listeners besides psychedelic specialists, but they recorded some idiosyncratically worthwhile stuff, most of which has been reissued on small collector labels. "Mary Jane" was re-released in 1997 on Gear Fab's Psychedelic Crown Jewels, Vol. 1. AMG.

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Jodo - Guts 1971

The obscure Jodo from the UK released their only full length album on Decca Records in 1970. An excellent mix of progressive hard rock and blues. AMG.

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Roy Orbison - In Dreams 1963

How does one recover enough to hear an album in its entirety when the first cut is "In Dreams"? Whoa! Roy Orbison's 1963 album of the same name, recorded for the Monument label, is devastating for a number of reasons, namely that his "Blue Bayou" and his readings of Johnny Mercer's "Dreams" and Stephen Foster's "Beautiful Dreamer" are here, as is his gorgeous reading of Cindy Walker's "Shahdaroba." Half of these cuts were recorded during the sessions for Sings Lonely and Blue, the other half in Nash Vegas in 1963 with Fred Foster producing both. The big difference on this set is the less intrusive presence of the Anita Kerr Singers. There are even more strings here, but they are relegated to a lesser place as well. Orbison's voice was never better than on this recording. The heights he reaches on the title cut, "Lonely Wine," the swaggering country and R&B of "Blue Avenue," and "My Prayer" are simply mind-blowing. The emotion and deep atmospherics of the tunes here reflect Foster's sophistication, but also Orbison's willingness to develop himself as a singer and as a persona. Orbison wrote or co-wrote four tracks this time out, but the song choices are impeccable. In addition to the original album being wonderfully remastered, the Legacy reissue contains four bonus cuts. These include a woolly read of "Mean Woman Blues," simpatico versions of Cindy Walker's "Distant Drum" and Willie Nelson's "Pretty Paper," and his own beautiful "Falling." AMG.

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Lucas Sideras - One Day 1972

Lucas Sideras, drummer and founding member of the Greek band Aphrodite's Child, began his career playing in small bands in his hometown of Athens before joining the country's biggest band—a group that remained active until 1972. Afterward, he began composing and focusing on solo work, though he did not achieve the same level of success as his former bandmates, Roussos and Vangelis. Sideras also worked as a producer and formed other groups, such as Ypsilon and Diesel. Presented here is his first solo project.

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Armageddon - Armageddon 1969

"The band was likely based in New Jersey, though their only album came out on the Los Angeles label Amos Records in 1969.  Not to be confused with the later UK group of the same name, this Armageddon leaned into fuzzed-out acid rock, garage psych, and strange late-’60s vibes. The record opens with the moody “Armageddon Theme” and closes with a wild, fuzz-heavy take on “The Magic Song (Bibbidi-Bobbidi-Boo).” In between, they deliver a gritty version of Cream’s “Tales of Brave Ulysses,” a Tolkien-inspired trip called “Bilbo Baggins,” and standout deep cuts like “Cave of the Winds.” A rare and obscure LP that stayed off the radar but has gained attention with collectors of heavy psych, oddball covers, and underground rock." VinylPiper
 

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The Peddlers - Three In A Cell 1968

The Peddlers were one of the most improbable success stories in British popular music of the 1960s and '70s. Sporting a spare, minimalist image (right down to their dark clothes and short hair), they played a brand of pop-jazz that was far removed from the rock & roll they had played or the rock music that was sprouting around them, but they scored enough successes to keep going for a decade and record for two different major labels. AMG.

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The Chris Hinze Combination - Stoned Flute 1970

Chris Hinze Combination was presented internationally 1971 in the Casino at Lake Geneva during the Montreux Jazz Festival. From then on Chris Hinze went on the road all over Europe. Mainly American musicians joined the Combination, like John Lee, Gary Brown, Charlie Mariano, James Batton, Kevin Eubanks and many others. As the setting changed through the years, 'Combination' turned out to be an extremely apropriate name, since Hinze is always searching for new influences, interacting with musicians from other cultures, changing members of the Chris Hinze Combination for new tours and albums.

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Vos Voisins - Vos Voisins 1971

Great early 70's progressive hard rock. One of lesser known Canadian bands/LP's of this era. The album is very well recorded/mixed, the musicianship and songwriting is super tight, with loads of guitar/keyboard interplay throughout. A touch of Quebecois lyrical humour thrown into the mix, and we have what we can consider to be a near perfect album. Guitarist Serge Vallieres would later join the Ville Emard Blues Band. 

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Grace Jones - Portfolio 1977

Disco mix king Tom Moulton produced these tracks at Sigma Sound in Philadelphia using the same musicians Kenny Gamble and Leon Huff held hostage for their sessions. The results are quite different: though polished, these tracks don't jump out at you. It's really a producer's album. Moulton probably had these tracks completed long before he knew who was going to sing them. Give Grace Jones credit though, she gives credence to old fuddies like "Send in the Clowns," "La Vie en Rose" is lilting, and "I Need a Man," displays a vulnerable Jones. AMG.

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Wilkinson Tri-Cycle - Wilkinson Tri-Cycle 1969

Wilkinson Tri-Cycle's only album is similar to post-psychedelic heavy rock recordings by East Coast groups like Sir Lord Baltimore and Yesterday's Children in that they combine bluesy heavy rock with psychedelic flourishes, but the effect is largely unremarkable. The album is nonetheless treasured by European collectors, who reportedly command a high price for the LP. Highlights include their cover of Sleepy John Estes' "Leaving Trunk," popularized at the time by Taj Mahal, and the Beatlesque ballads "Poursha Poe" and the elegant "Yellow Wall." It was actually released on a little-known R&B subsidiary of CBS, Date Records. None of the band went on to any major success after the demise of the group. Perhaps the most interesting item of note is that this was one of many albums produced by writers/producers Warren Schatz and Stephen Schlaks at Associated Recording Studios in New York City. The Brooklyn-born Schatz had originally recorded hits of his own as Ritchie Dean for the Tower label, then went on to form several short-lived groups before focusing on producing. Together, he and Schlaks (who co-wrote the Turtles' "Your Maw Said You Cried") partnered up to produce numerous post-psychedelic/heavy rock acts like Yesterday's Children and Banchee. Schatz continued to work as a producer and had his biggest success in the mid-'70s disco era as a staff producer at RCA, where he produced hits for Evelyn "Champagne" King and Vicki Sue Robinson ("Turn the Beat Around" went to number ten on Billboard's pop charts in the summer 1976). He also worked with the studio cast on the 1979 production of Hair -- A Disco Spectacular, and since then has worked with artists in various other genres, including jazz and country. AMG.

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Orleans - Orleans 1973

Orleans were never a favorite of rock critics, who disliked the soft rock/pop/rock outfit for the same reason they disliked Chicago, America, Player, Pablo Cruise, and Firefall: They saw Orleans as unchallenging. That much is true; Orleans were never the most challenging band in the world. But then, they weren't trying to be. Orleans are what they are -- laid-back, congenial soft rock with occasional R&B influences -- and complaining about the lack of danger in their music is sort of like faulting a romantic comedy for not being as edgy as one of Martin Scorsese's film noir masterpieces. If you're going to honestly evaluate an Orleans album, you have to apply soft rock standards -- not hard rock standards, not punk and new wave standards, not P-Funk standards. And when soft rock standards are applied, one finds that Orleans' self-titled debut album of 1973 is a fairly promising, if imperfect and inconsistent, effort. The LP isn't without pedestrian filler, but its best tracks -- which range from the mildly funky "Tongue-Tied" to the anthemic, gospel-tinged "Half Moon" -- are quite memorable. Although Orleans are a soft rock/pop/rock band first and foremost, they aren't oblivious to soul and funk -- the cynical "Two-Faced World," in fact, combines pop/rock sensibilities with an awareness of Sly & the Family Stone. Orleans were never as funky as Stone or Tower of Power; for that matter, they weren't as gritty or soulful as Janis Joplin, who John & Joanna Hall wrote "Half Moon" for in 1970. But it is safe to say that an appreciation of soul and funk were among the weapons in the band's soft rock/pop/rock arsenal. This 1973 debut wasn't a blockbuster -- Orleans' big commercial breakthrough didn't come until 1975 -- but the soft rock fans who acquired the LP could hear Orleans' potential. AMG.

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Sam Taylor, Jr. - The Tunnels Of My Mind 1969

Soul/blues guitarist, singer, songwriter, and band leader. Taylor written hundreds of songs, many of them hits and some even gold records like "Do It 'Til You're Satisfied", performed by the B.T. Express. Taylor worked with Freddie King, Son Seals, Jimmy Witherspoon, Jay & The Americans, Joey Dee, Maxine Brown and Joe Tex. He also was bandleader/guitarist for the likes of Big Joe Turner, Isley Brothers, Tracy Nelson, Otis Redding and Sam & Dave as well as being an esteemed vocalist with Joey Dee & The Starliters, Drifters and The Rascals.

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The Doors - Morrison Hotel 1970

In late 1969, the Doors were reeling. That March, singer Jim Morrison was charged, tried, and convicted of obscenity for allegedly exposing himself at a concert in Miami. It resulted in promoters canceling future gigs. The July release of The Soft Parade provided more angst. Tired of the sound that governed their previous outings, the band incorporated horn and string arrangements with a new melodic accessibility. It signaled an unwelcome change for critics (though it did reach number six and was radically reappraised posthumously). In November they entered the studio with producer Paul Rothchild exhausted, stressed, and angry. Going back to blues and R&B basics seemed like the only direction to pursue.

Morrison Hotel is often dubbed the Doors' blues album, due to raucous opener "Roadhouse Blues," one of the band's most enduring tunes. (Interestingly, it was issued as the B-side of first single "You Make Me Real.") Ray Manzarek leaves behind his organ to pound an upright piano, while guitarist Robby Krieger adds a filthy Chicago-styled riff, prodded by a rock shuffle from drummer John Densmore. The Lovin' Spoonful's John Sebastian (using the pseudonym "G. Puglese") provides its iconic harmonica wail. "Waiting for the Sun" is one of four tunes Morrison composed himself, and a psychedelic holdover from the 1968 album bearing the same title. Manzarek plays a spacy harpsichord as Krieger offers trippy slide guitar. "You Make Me Real" underscores the blues-rock motif, with roiling electric piano, stinging guitar vamps, and Densmore's swaggering shuffle. Morrison lords over all with his boozy, baritone roar. The organ returns on the downright funky boogie of "Peace Frog," as Morrison sings of "blood in the streets" addressing the civic unrest then gripping the nation. He counters near the end with a spoken stanza from his optimistic poem Newborn Awakening. "Ship of Fools" contains shifting time signatures that cross jazz, R&B, and pop, while the buoyant "Land Ho," offers an adventure-laden lyric in a sprawling rock & roll sea chanty, where Manzarek wields his organ like a mad calliope. Krieger's deep, bluesy, minor-key intro to "The Spy" is framed by jazzy electric piano and Morrison's sultry delivery, which approximates a lounge singer. "Queen of the Highway" is fueled by Densmore's powerful drumming and Manzarek's creative use of the Rhodes piano. One of the Doors' most progressive cuts, it seamlessly integrates blues, jazz, and spacy psychedelia. "Maggie McGill" closes the circle on the blues tip. Krieger's unruly, double-tracked slide riffs duel with a pulsing, distorted organ; Densmore bridges them under Morrison's slithering growl -- it foreshadows the singing style he displayed so abundantly on L.A. Woman in 1971. Blues and R&B were foundational to the Doors' musical vocabulary. They employed them to some degree on all of their albums, but never as consistently, adeptly, or provocatively as they did on Morrison Hotel, with absolutely stunning results. AMG.

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Jeremy & The Satyrs - Jeremy & The Satyrs 1968

Although Jeremy & the Satyrs' album was unusual for its time; its early jazz-rock fusion, with bits of soul and blues, was better on paper than in execution. The vocal numbers usually had pedestrian soul-rock bases, not aided by the hoarse singing (uncredited on the sleeve). There were also instrumental pieces; at times, about the only thing separating this from run-of-the-mill blues-rock or soul-rock was the very jazzy flute. AMG.

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Geno Washington & the Ram Jam Band - Uptight 1967

Geno Washington & the Ram Jam Band are an England-based soul band. Geno Washington is an American R&B singer, who released five albums with The Ram Jam Band between 1966 and 1969, and eight solo albums beginning in 1976. The Ram Jam Band were formed around 1964 by Pete Gage and Geoff Pullum. Before taking on Geno Washington, whom Gage knew from performing at the RAF Bentwaters US Air Force base, they had a Jamaican Blue Beat singer by the name of Errol Dixon front the band as they embarked on the London club circuit. Gage approached Washington to finance his demobbing to the US and to return to front the band as it seemed essential to have an American to perform US soul rather than the West Indian alternatives in London at that time.

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Swallow - Swallow 1973

Duke & the Drivers had fun living out their fantasy on ABC Records but, under the aegis of the redoubtable Buddy Buie and with help from the Atlanta Rhythm Section, Boston's Swallow were very serious about their craft, and it shows on this collection of understated blues-rock. Vern Miller, Jr. of the Remains, George Leh, and New England personalties Parker Wheeler and Phil Greene (the extra "e" is missing from the legendary engineer's name on this disc) are four of the nine musicians who make up the large outfit. On one of the all-time worst album covers -- a green martian hand holding the nose of the man in the moon (presumably, so he can swallow) -- the nine musicians are displayed above a moonscape, their names out of order with the photos. In 1973, the Atlanta Rhythm Section emerged from the remnants of the Classics IV and, with J.R. Cobb and Barry Bailey of that group on this disc, along with B.J. Thomas/Friend & Lover/Billie Joe Royal producer Buie, one would think Warner Bros. would have been more serious about this outing. Most of the titles are by Miller, making the album a statement by the man Danny Klein of the J. Geils Band calls his favorite bass player. Two co-writes by Leh are included, along with two Randy Newman songs, "Illinois" and the often covered "I'll Be Home." Although Buie co-wrote all the hits of the Atlanta Rhythm Section, his magic is not added here, and perhaps that is what is missing. The record is better than decent -- it is very good -- despite the fact there is no hit to launch it from obscurity. Greene went on to engineer Beaver Brown, New Kids on the Block, and the sessions this writer did with Buddy Guy in 1986, while blind singer Leh developed a following and great reputation performng around the Boston area. "Georgia, Pack My Bags" isn't a hit, nor is "Rockin' Shoes"; perhaps the closest thing to a potential chart climber is "Don't Tell Mama," some kind of answer, not to Etta James, but to Savoy Brown's minor hit from their 1971 Street Corner Talking album, "Tell Mama." At least they showed respect for their elders! There was much potential here; it's too bad the label and/or management mishandled the look of the album, and failed to give this large group a couple of songs their musicianship could work with to reach the masses. But, for fans of the legendary Remains, it is another chapter in the career of Vern Miller and an essential item in order for their collections to be complete. AMG.

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V.A. - Bumpers (Island Sampler) 1970

A bountiful double album package rounding up the cream of the UK Island label's 1970 output, highlighting recent releases and anticipating forthcoming ones and following, of course, a tradition launched by the earlier You Can All Join In and Nice Enough To Eat.
Of all the labels operating in the UK as the decade turned, Island was unquestionably the most adventurous, at the same time as maintaining a stable whose internal logic now seems impeccable. Leaning towards the folkier side of hard rock, and the bluesier edge of prog - an adventure that allowed King Crimson and Mott The Hoople to rub shoulders with Cat Stevens and Traffic - Island rounded up the cream of the British underground, an these periodic compilations showcased it at its best. Indeed, they frequently maintained ad cohesion and sense of musical purpose that the artists themselves often struggled to match. They were more than simple advertisements, however. Bumpers includes two genuine rarities, as both Mott The Hoople and Fairport Convention are represented by otherwise unavailable versions of their contributions ("Thunderbuck Ram" and "Walk Awhile" respectively), while efforts from the Keith Relf/Jim McCarty-era Renaissance, Clouds and Quintessence remind us of a day when even the greatest modern collectibles were regular new releases. Island ranks among the most collectible British labels of the entire rock'n'roll era. Every track on Bumpers offers another reason why. AMG.

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The D.R. Hooker Band - Armageddon 1979

Far lesser-known to collectors than 'The Truth,' D.R. Hooker's second outing is seemingly just as rare and just as good as (if not better than) its predecessor. In fact, I'd go so far as to say that side 1 of this LP is perhaps the best thing Mr. Hooker ever did musically. There's no real "psych" moves here, so let's get that out of the way first - though, one could of course argue how much "psych" is really on the over-hyped first album... Anyways, this record pushes more into the realms of prog and hard rock. At its peak it sounds like The Doors doing a new '70s album with some rando filling in for Jim Morrison. Hooker's voice does kinda grow on ya, but it's buried in the mix here, which isn't necessarily a bad thing.

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Miles Davis - Miles Smiles 1967

With their second album, Miles Smiles, the second Miles Davis Quintet really began to hit their stride, delving deeper into the more adventurous, exploratory side of their signature sound. This is clear as soon as "Orbits" comes crashing out the gate, but it's not just the fast, manic material that has an edge -- slower, quieter numbers are mercurial, not just in how they shift melodies and chords, but how the voicing and phrasing never settles into a comfortable groove. This is music that demands attention, never taking predictable paths or easy choices. Its greatest triumph is that it masks this adventurousness within music that is warm and accessible -- it just never acts that way. No matter how accessible this is, what's so utterly brilliant about it is that the group never brings it forth to the audience. They're playing for each other, pushing and prodding each other in an effort to discover new territory. As such, this crackles with vitality, sounding fresh decades after its release. And, like its predecessor, ESP, this freshness informs the writing as well, as the originals are memorable, yet open-ended and nervy, setting (and creating) standards for modern bop that were emulated well into the new century. Arguably, this quintet was never better than they are here, when all their strengths are in full bloom. AMG.
 

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Karma - Karma 1972

Karma was a "rural rock" power trio from Rio de Janeiro, formed by Jorge Amiden (triple-neck guitar), Luiz Mendes Junior (acoustic guitar and vocals), and Alen Cazinho Terra (bass and vocals). In 1972, they released their only album, Karma, on RCA Victor; it is currently a highly acclaimed record that is fiercely sought after by collectors.

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Cal Tjader - The Prophet 1969

From the 1950s until his death, Cal Tjader was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet's "Rap Your Troubles in Drums," and would occasionally sit in on piano as well. 
Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing's then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing's band that Tjader's love affair with Latin music began, ignited by Shearing bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the '50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader's band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band's songbook ("Ginza," "Thinking of You, MJQ").

Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor's aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with "Soul Sauce," a reworking of Dizzy Gillespie/Chano Pozo's "Guacha Guaro," which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death in 1982. AMG.

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